Unde quod est usquam, quamuis regionibus absit, Nocte dieque patent. Tota est ex aere sonanti ; Nec tamen est clamor, sed paruae murmura uocis ; Et tellure uidet, totumque inquirit in orbem.' A few other references to Ovid are pointed out in the Notes. By way of further illustration, I here quote the whole of Golding's translation of the above passage from Ovid : 'Amid the world tweene heauen and earth, and sea, there is a place, A thousand entries, glades, and holes are framed in this bowre. Reporting double euery word it heareth people say. There is no rest within, there is no silence any-where. Yet is there not a yelling out: but humming, as it were The sound of surges being heard farre off, or like the sound That at the end of thunderclaps long after doth redound When Ioue doth make the clouds to crack. Within the courts is preace Light credit dwelleth there, there dwells rash error, there doth dwell This Fame beholdeth what is done in heauen, on sea, and land, $5. DATE OF the Poem. Ten Brink, in his Chaucer Studien, pp. 120, 121, concludes that The House of Fame was, in all probability, composed shortly after Troilus, as the opening lines reproduce, in effect, a passage concerning dreams which appears in the last Book of Troilus, ll. 358-385. We may also observe the following lines in Troilus, from Book I, 517-8: 'Now, thonked be god, he may goon in the daunce These lines, jestingly applied to Troilus by Pandarus, are in the 'Although thou mayst go in the daunce Of hem that him list not avaunce.' Again, the House of Fame preceded the Legend of Good Women, because he here complains of the hardship of his official duties (652-660); whereas, in the Prologue to the Legend, he rejoices at obtaining some release from them. We may also note the quotation from Boethius (note to 1. 972). As Boethius and Troilus seem to have been written together, somewhere about 1380, and took up a considerable time, and the apparent date of the Legend is 1385, the probable date of the House of Fame is about 1383 or 1384. Ten Brink further remarks that the references to Jupiter suggest to the reader that the 10th of December was a Thursday (see note to 111). This would give 1383 for beginning the poem; and perhaps no fitter date than the end of 1383 and the spring of 1384 can be found. § 6. METRE. Many of Chaucer's metres were introduced by him from the French; but the four-accent metre, with rime as here employed, was commonly known before Chaucer's time. It was used by Robert of Brunne in 1303, in the Cursor Mundi, and in Havelok. It is, however, of French origin, and occurs in the very lengthy poem of Le Roman de la Rose. Chaucer only employed it thrice: (1) in translating the Roman de la Rose; (2) in the Book of the Duchesse; and (3) in the present poem. For normal lines, with masculine rimes, see 7, 8, 13, 14, 29, 33, &c. For normal lines, with feminine rimes, see 1, 2, 9, 15, 18, &c. Elision is common, as of e in turne (1), in somme (6), in Devyne (14); &c. Sometimes there is a middle pause, where a final syllable need not always be elided. Thus we may read : 'By abstinence-or by seknesse' (25): 'And fro unhappë-and ech disese' (89): 'In his substáuncë-is but air' (768). Two short syllables, rapidly pronounced, may take the place of one :'I noot; but who-so of these miracles' (12): 'By avisiouns, or by figúres' (47). The first foot frequently consists of a single syllable; see 26, 35, 40, 44; so also in 1. 3, where, in modern English, we should prefer Unto. The final e, followed by a consonant, is usually sounded, and has its usual grammatical values. Thus we have think-e, infin. (15); bote, old accus. of a fem. sb. (32); swich-e, plural (35); oft-e, adverbial (35); soft-e, with essential final e (A.S. söfte); find-e, pres. pl. indic. (43); com-e, gerund (45): gret-e, pl. (53); mak-e, infin. (56); rod-e, dat. form used as a new nom., of which there are many examples in Chaucer (57); blind-e, def. adj. (138). The endings -ed, -en, -es, usually form a distinct syllable; so also -eth, which, however, occasionally becomes 'th; cf. comth (71). A few common words, written with final e, are monosyllabic; as thise (these); also shulde (should), and the like, occasionally. Remember that the old accent is frequently different from the modern; as in oracles, miracles (11, 12): distance (18), aventures, figúres (47, 48): povért (88): málicibus (93): &c. The endings -i-al, -i-oun, i-ous, usually form two distinct syllables. For further remarks on Metre and Grammar, see vol. v. § 7. IMITATIONS. The chief imitations of the House of Fame are The Temple of Glas, by Lydgate 1; The Palice of Honour, by Gawain Douglas; The Garland of Laurell, by John Skelton; and 1 By this, I only mean that Lydgate seems to have been indebted to Chaucer for the general idea of his poem, and even for the title of it (cf. Ho. Fame, 120). For a full account of all its sources, see the admirable edition of Lydgate's Temple of Glas by Dr. J. Schick, p. cxv. (Early Eng. Text Society). The Temple of Fame, by Pope. Pope's poem should not be compared with Chaucer's; it is very different in character, and is best appreciated by forgetting its origin. § 8. AUTHORITIES. The authorities for the text are few and poor; hence it is hardly possible to produce a thoroughly satisfactory text. There are three MSS. of the fifteenth century, viz. F. (Fairfax MS. 16, in the Bodleian Library); B. (MS. Bodley, 638, in the same); P. (MS. Pepys 2006, in Magdalene College, Cambridge). The last of these is imperfect, ending at 1. 1843. There are two early printed editions of some value, viz. Cx. (Caxton's edition, undated); and Th. (Thynne's edition, 1532). None of the later editions are of much value, except the critical edition by Hans Willert (Berlin, 1883). Of these, F. and B., which are much alike, form a first group; P. and Cx. form a second group; whilst Th. partly agrees with Cx., and partly with F. The text is chiefly from F., with collations of the other sources, as given in the footnotes, which record only the more important variations. § 9. SOME EMENDATIONS. In constructing the text, a good deal of emendation has been necessary; and I have adopted many hints from Willert's edition above mentioned; though perhaps I may be allowed to add that, in many cases, I had arrived at the same emendations independently, especially where they were obvious. Among the emendations in spelling, I may particularise misdemen (92), where all the authorities have mysdeme or misdeme; Dispyt, in place of Dispyte (96); barfoot, for barefoot or barefote (98); proces (as in P.) for processe, as in the rest (251); delyt, profyt, for delyte, profyte (309, 310); sleighte for sleight (462); brighte1, sighte, for bright, sight (503, 504); wighte, highte, for wight, hight (739, 740); fyn, Delphyn (as in Cx.), for fyne, Delphyne (1005, 1006); magyk, syk, for magyke, syke (1269, 1270); losenges, for losynges (1317), and frenges (as in F.) for frynges, as in the rest (1318); dispyt for dispite (1716); laughe for laugh (Cx. lawhe, 1809); delyt for delyte (P. delit, 1831); thengyn (as in Th.) for thengyne (1934); othere for other (2151, footnote). 1 Misprinted 'bright,' as the final e has 'dropped out' at press; of course it should be the adverbial form, with final e. In 1. 507, the form is 'brighte' again, where it is the plural adjective. And, owing to this repetition, MSS. F. and B. actually omit lines 504-7. These are only a few of the instances where nearly all the authorities are at fault. The above instances merely relate to questions of spelling. Still more serious are the defects in the MSS. and printed texts as regards the sense; but all instances of emendation are duly specified in the footnotes, and are frequently further discussed in the Notes at the end. Thus, in l. 329, it is necessary to supply I. In 370, allas should be Eneas. In 513, Willert rightly puts selly, i. e. wonderful, for sely, blessed. In 557, the metre is easily restored, by reading so agast for agast so. In 621, we must read lyte is, not lytel is, if we want a rime to dytees. In 827, I restore the word mansioun; the usual readings are tautological. In 911, I restore toun for token, and adopt the only reading of 1. 912 that gives any sense. In 1007, the only possible reading is Atlantes. In 1044, Morris's edition has biten, correctly; though MS. F. has beten, and there is no indication that a correction has been made. In 1114, the right word is site; cf. the Treatise on the Astrolabe (see Note). In 1135, read bilt (i. e. buildeth); bilte gives neither sense nor rhythm. In 1173, supply be. Ll. 1177, 1178 have been set right by Willert. In 1189, the right word is Babewinnes1. In 1208, read Bret (as in B.). In 1233, read famous. In 1236, read Reyes'. In 1303, read hatte, i. e. are named. In 1351, read Fulle, not Fyne. In 1372, adopt the reading of Cx. Th. P., or there is no nominative to streighte; and in 1373, read wonderliche. In 1411, read tharmes (=the armes). In 1425, I supply and hy, to fill out the line. In 1483, I supply dan; if, however, poete is made trisyllabic, then 1. 1499 should not contain daun. In 1494, for high the, read highte (as in 1. 744). In 1527, for into read in. In 1570, read Up peyne. In 1666, 1701, and 1720, for werkes read werk. In 1702, read clew (see note). In 1717, lyen is an error for lyuen, i. e. live. In 1750, read To, not The. In 1775, supply ye; or there is no sense. In 1793, supply they for a like reason. In 1804, 5, supply the, and al; for the scansion. In 1897, read 1 Morris has rabewyures, from MS. F.; but there is no such word in his Glossary. See the New E. Dictionary, s. v. Baboon. 2 ' Morris has Reues; but his Glossary has: 'Reues, or reyes, sb. a kind of dance. Of course it is plural. 'Morris has clywe; and his Glossary has Clywe, v. to turn or twist'; but no such verb is known. See Claw, v. § 3, in the New E. Dict. |